【作者】 吴艳；

【导师】 洛秦；

【作者基本信息】 上海音乐学院 ， 音乐学， 2011， 博士

【摘要】 本文是对上海民俗音乐传统在当代如何发生变迁的研究。文章以多个案、宽视野的田野考察资料为基础,结合大量地方文献资料,运用音乐人类学方法,以上海民俗音乐艺人班社的组织方式为切入点,考察在不同历史时期和不同社会环境中,艺人如何遵守“门图”制民俗规约,又如何通过“搭班”调整生存机制以适应变迁的过程进行了一系列描述、分析和阐释。全文主体部分由绪论、四章正文、结论和余论组成。“绪论”主要交待本论题的缘起、理论视角和研究方法；“第一章”是对旧时上海民俗音乐班社“门图”制的追溯和分析,其中包括对“门图”、“六色人”特征的解释和对乐班在行艺范围、用乐规定等方面如何遵守民俗规约的阐述；“第二章”是对当下上海民俗音乐艺人“搭班”制的描述和解析,其中包括对如何“搭班”、用何种音乐,怎样适应新时代、城市化而调适其生存机制等问题的分析研究；“第三章”以上海民俗音乐形态的历史演变为主线,阐述了从“门图”到“搭班”这一乐班习规变化的过程及对音乐的影响；“第四章”对“门图”制如何转化为“搭班”制的原因做了推论性的解释,并从中探究了民俗音乐文化如何以及为何从“过去”转化到“现在”的原因。在“结论”中,笔者借鉴洛秦的“音乐人事与文化研究”模式,解读上海民俗“音乐人事”是由怎样的特定机制支撑和促成的,特定机制又是在受到什么样的历史场域作用下的音乐社会环境中产生的,以试图多层面地阐释民俗音乐的“传统”与“现代”如何得以承接和怎样产生变异的关系；文后的“余论”是对如何认识“民俗音乐传统”以及如何看待上海城市中的民俗音乐传统所做的进一步理论思考和观点阐释。笔者从两年来的田野考察中获知,传统民俗和民俗音乐仍然以其顽强的生命力和影响力,对生活在上海这个现代化大都市中的一部分民众的社会生活产生着重要作用。这种现象无疑是音乐人类学(尤其是城市音乐人类学)值得调查和研究的重要课题。本文正是以试图了解这一“地方性知识”为主旨,从“传统在现在”的历史观照和现实追问中,呈现了这一“地方性知识”的历史与现状,延伸了因这“地方性知识”而引发的音乐人类学在现代城市民俗音乐研究领域的理论思路。更多还原

【Abstract】 This paper is to study the change of folk music tradition today in Shanghai. The argument bases mainly on various cases and multi-perspective first-hand sources from fieldwork, together on supplementary literatures, aiming to do a holistic ethnomusicological study that taking the folk music into the context of folk events. In this paper, I will focus on the organization form of folk musicians’society in different times and different social contexts, describing, analyzing and interpreting the process that musicians disciplined themselves by the organization form of "Mentu (门图) "and the way they are maintaining their living through "Daban (搭班) "in order to adapt to changing context.This paper consists of the following parts. The introductory part includes the background, concepts, theoretical framework, methodology and sources of data; Chapter one is an overview on the "Mentu (门图) "in old times, including an explanation on the characteristics of "Mentu (门图) "and "Liuseren (六色人) "together with an discussion on the folk limitation on region of their activities and music they can use. Chapter two begins to describe and analyze another organization form of "Daban (搭班) "in nowadays, including the way that secure this form, the music played, the method used to adapt to new times and increasing urbanization; Chapter three focuses on the historical development of Shanghai folk music, discussing the process from "Mentu (门图) "to "Daban (搭班) "and the influences they brought to music. Chapter four is an insight into the mechanism that drives this change, trying to reveal the historical process of change from "Mentu (门图) "to "Daban (搭班) "and the reason behind. In the conclusion part, this paper adopts Luoqin’s analytical model——"Cultural Study of Man and His Doing in Music (音乐人事与文化研究)"——for the analyze on what kind of unique mechanism maintaining the "Man and His Doing in Music (音乐人事)", and for the uncover of what kind of historical context determines the emergency of specific mechanism. In the end this paper is to give an interpretation on folk music’s "tradition" and "modernity" and the transition process in-between. The supplementary conclusion is a theoretical thinking on how to understand the concept "folk music tradition" and how to perceive the folk music tradition as a whole in Shanghai. From this two-year long fieldwork, I understand that folk music still play a key role in some people living in modern Shanghai. It is undoubtedly an important issue worthy of study, especially in the field of urban-ethnomusicology. This paper thus explains the above phenomenon from the perspective of "folk knowledge" and demonstrating the history and today of it in the course of inquiring on "tradition in today", which extend the study of ethnomusicology in the field of urban folk music.更多还原